“I don’t care about the money. I’m pulling back the curtain. I want to meet the wizard.”
Michael Douglas’ disheveled Nicholas Van Orton is one of the most powerful men in the United States, so why is he holding a man hostage and demanding answers? When David Fincher’s The Game came out in 1997, it was received as a control freak’s nightmare. A vision that could only have come from the mind of one of cinema’s most talented young directors. Today, Consumer Recreation Services could be any company on the street. With unlimited access to data from social media and emails, a small group of technicians could manufacture their own reality. In a time of alt-facts, when the nature of truth is constantly up for debate, The Game feels far more significant than its reputation as middle-tier a David Fincher project.